Concertos for Piano & Orchestra, by Bach, Beethoven & Brahms (Arrow-Signal System). PDF Download
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Author: Johann Sebastian Bach
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Author: Johann Sebastian Bach
Publisher:
ISBN:
Category :
Languages : en
Pages :
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Author: Johann Sebastian Bach
Publisher: Alfred Music
ISBN: 9781457471193
Category : Music
Languages : en
Pages : 358
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Bach: Concerto in D minor for one clavier * Concerto in F minor for one clavier * Concerto in C Major for two claviers * Concerto in C minor for two claviers * Concerto in D minor for three claviers * Concerto in C Major for three claviers * Concerto in A minor for four claviers. Beethoven: Concerto No. 1 in C (Op. 15) * Concerto No. 2 in B-flat (Op. 19) * Concerto No. 3 in C minor * Concerto No. 4 in G (Op. 58) * Concerto No. 5 in E-flat (Op. 73). Brahms: Concerto in D minor (Op. 15) * Concerto in B-flat (Op. 83).
Author: Johann Sebastian Bach
Publisher:
ISBN:
Category :
Languages : en
Pages : 351
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Author: New York Public Library. Reference Department
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 872
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Author: Richard Wagner
Publisher:
ISBN:
Category : Music appreciation
Languages : en
Pages : 298
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Author:
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Category : Drama
Languages : en
Pages : 554
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Book Description
Vols. for 1957-61 include an additional (mid-January) no. called Directory issue, 1st-5th ed. The 6th ed. was published as the Dec. 1961 issue.
Author: Nicole Grimes
Publisher: Cambridge University Press
ISBN: 1108474497
Category : History
Languages : en
Pages : 295
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Book Description
A unique insight into the relationship between Brahms's music and his philosophical and literary context from a modernist perspective.
Author: Luigi Rognoni
Publisher: London : Calder
ISBN:
Category : Music
Languages : en
Pages : 462
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Author:
Publisher:
ISBN:
Category : Music
Languages : en
Pages : 612
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Author: Philip Kennicott
Publisher: W. W. Norton & Company
ISBN: 0393635376
Category : Biography & Autobiography
Languages : en
Pages : 256
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A Pulitzer Prize–winning critic’s “lyrical and haunting” (Alex Ross, The New Yorker) reflection on the meaning and emotional impact of a Bach masterwork. As his mother was dying, Philip Kennicott began to listen to the music of Bach obsessively. It was the only music that didn’t seem trivial or irrelevant, and it enabled him to both experience her death and remove himself from it. For him, Bach’s music held the elements of both joy and despair, life and its inevitable end. He spent the next five years trying to learn one of the composer’s greatest keyboard masterpieces, the Goldberg Variations. In Counterpoint, he recounts his efforts to rise to the challenge, and to fight through his grief by coming to terms with his memories of a difficult, complicated childhood. He describes the joys of mastering some of the piano pieces, the frustrations that plague his understanding of others, the technical challenges they pose, and the surpassing beauty of the melodies, harmonies, and counterpoint that distinguish them. While exploring Bach’s compositions he sketches a cultural history of playing the piano in the twentieth century. And he raises two questions that become increasingly interrelated, not unlike a contrapuntal passage in one of the variations itself: What does it mean to know a piece of music? What does it mean to know another human being?
